If there such as thing, as the most beautiful bathroom of the 20th century, then it is definitely this one, which French designer Albert Armand Rateau designed for couturier Jeane Lanvin. With its geometric mosaic tiled floors in cream and black, marble walls, and extraordinary fixtures in bronze, this salle de bain was given to the Musée des Arts Décoratifs in Paris in 1965, when Lanvin’s home was demolished.

Henri Samuel was a legendary French interior decorator who created a style based on 18th century grandeur. In fact, he collected fine furniture of the 17th and 17th and 18th centuries with which he decorated his home. Yet, Samuel also loved commissioning modern work from contemporary designers and craftsmen. One of his more favorite furniture artist was Philippe Hiquily, the sculpture who died earlier this year, and who was engaged with crafting furniture of metal. His collection was sold by Christie's Paris in 1996.

Cannot wait for the upcoming exhibition "Venetian Glass by Carlo Scarpa: The Vinini Company, 1932-1947," which will open at the Metropolitan Museum of Art next week. It is completed devoted to the work in glass of the influential Italian architect Carlo Scarpa (1906–1978), the greatest Venetian architect since Palladio and one of the leading architects of the 20th century. Scarpa who was deeply influenced by Frank Lloyd Wright theory of organic architecture, was engaged in creating a unique and multifaceted body of work in glass. In 1932, while in his mid-twenties, he was hired by Paolo Venini, founder of Venini Glassworks, to be an artistic consultant to the company, and until 1947, worked closely with Venini master glass blowers and Venini himself to create more than two dozen styles, in the process pioneering techniques, silhouettes, and colors that thoroughly modernized the ancient tradition of glass blowing.

I was disappointed to see these photographs from the homes of Oprah Winfrey. Why? Because they manifest taste which is banal, unsophisticated, and too traditional, surprising when they belong in homes of one of the world's most influential women. This weekend, items from her various homes in Chicago, Maui, Indiana, and Santa Barbara will be offered at a live auction and proceeds from the sale will benefit the Oprah Winfrey Leadership Academy Foundation College Fund. I wish Ms. Winfrey took my program on Collecting Design, which is designed for those love beautiful things, stylish homes, but who are also interested to elevate their taste and to make it more sophisticated and educated.

It was the most spectacular house in America, when it was completed in 1905, and it is going to be at the center of my lecture on Monday in the program Collecting Design. It was called Laurelton Hall, Louis Comfort Tiffany's extraordinary country estate in Oyster Bay, New York, and the epitome of the designer's achievement and vision. Tiffany designed every aspect of his house, inside and out, creating a total aesthetic environment, and integrating the structure into the landscape. When it was published in design magazines, it was also a window into Tiffany’s most personal art, bringing into focus this remarkable artist who lavished as much care and creativity on the design and furnishing of his home and gardens as he did on all the wide-ranging media in which he worked. It came to a tragic end when it was tragically burned to the ground in 1957.

Tonight I attended a private preview of an exhibition of the extraordinary Jewelry of Alexandre Reza at Sotheby's. One of the greatest jewelers of the 20th century, Reza is known for using some of the world's rarest gemstones in jewelry, which has brought his name to the pantheon of Parisian haute joaillerie houses. His house has been recently revived by Reza's son Olivier, who designs jewels to the same exacting standards as his now-retired father. His contemporary jewels was shown side by side with archival pieces by his father. I loved these vintage glamour pieces.

At the core of British designer Gary Morga's vocabulary, is the Italian Postmodernist Movement, and particularly its last chapter in 1980s Milan. The radical forms, the bright colors, and the whimsical essence are well integrated in his pieces of furntiure. Now, through his company Ventri, he has introduced two new desoings, "Sils Maria" and "Laissez-faire." Thanks for sharing this with me, Gary.

It seems that this week is all about mid-century American Design. I went to see the show Mid-Century Maestro: The Textiles of Boris Kroll at the NY School of Interior Design. For no less than six decades, beginning in the 1930s, Boris Kross and his firm were celebrated for distinctive collections of high-quality woven fabrics for the design industry. A self-taught weaver, Kroll was perhaps best known for introducing bright colors into upholstery fabrics, and for the invention of a trademark jacquard weave incorporating multiple types of textured yarns to produce his signature undulating patterns and geometric designs. After Kroll's death in 1991, the firm was purchased by Scalamandre, and this show presents the range and sophistication of the Boris Kroll collections in a display of historic textiles from the company's archives.

I have a special connection and love for knitting. I remember my grandmother sitting in the backyard, knitting socks for my father, using no less than five needles and yarns in the most extraordinary colors. I learnt the art of knitting from a relatively early age, and then, in college, used to make living with knitting the most extraordinary, stylish sweaters, mostly in black/white/silver/grays. There were all sold out before completed. These pieces were so sensational that I was featured in fashion magazines during my college years numerous times. Here is me wearing my own creations in one of the features. So when I saw the knitted sculptures of artist Orly Genger, crafted of swaths of hand-knotted rope, I fell in love. Her new installation, “Red, Yellow and Blue,” will be on view starting this weekend at the deCordova Sculpture Park and Museum in Massachusetts. These images are from a similar installation she did in Madison Square Park in the summer.

This afternoon I visited the exhibition “Norman Bel Geddes: I have seen the Future,” which opened last week at the Museum of the City of New York, and got a private tour of the show by its curator Donald Albrecht. This extraordinary show, another in a series of design shows at the museums, all curated by Albrecht, surveys the career of one of America’s most legendary designers, the man who shaped the American experience during the Depression era, with a new language, came to be knows as “Streamlining.” Geddes was a dreamer who, on the one hand designed everyday objects, such as radios, tableware, furniture, interiors, touching all territories of the American life, but on the other hand, was a visionary who designed futuristic airplanes, cars, ocean liners, and buildings. His most seminal work, Futurama, a model city of the future, was shown in the General Motors pavilion at the 1939-40 New York World's Fair, and made history.